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“Hello Miss Johnson,” Jack Harlow’s calling. The rapper unveiled his latest single on Thursday (Nov. 21), and dropped an accompanying video that all plays out on security footage. Explore Explore See latest videos, charts and news See latest videos, charts and news The clip, which presents itself via CCTV on Harlow’s love interest’s home in […]
At Wednesday’s (Nov. 20) CMA Awards, Ashley McBryde turned in one of the evening’s top moments with her tribute to the late Country Music Hall of Famer Kris Kristofferson, with a performance of one of the star’s most well-known songs, “Help Me Make It Through the Night.”
During rehearsals ahead of the CMA Awards, McBryde told Billboard of Kristofferson, “He’s one of my favorite songwriters. So Kris Kristofferson, Guy Clark, John Prine, this is how the list goes, and it’s my father’s favorite musician-songwriter. It’s his favorite voice to listen to.”
Kristofferson died at his home in Maui, Hawaii, on Sept. 28, and was known for writing classics including “Sunday Mornin’ Comin’ Down,” “For the Good Times” and “Me and Bobby McGee.” Kristofferson was a singer/performer himself, though many of his songs were best known as performed by other artists. He was also a well-known actor who starred in films including A Star is Born, Alice Doesn’t Live Here Anymore and Blade.
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“Help Me Make It Through the Night” has special meaning in McBryde’s own musical journey. “My father taught me to play that song when I was like seven years old, before I even had a guitar of my own,” McBryde said. “And I had no concept [at that age] of who writes songs and who sings songs and all that. So if I can just keep it together, I think it’s going to be a good moment.”
Kristofferson wrote and recorded “Help Me Make It Through The Night” for his 1970 debut album Kristofferson. Sammi Smith’s recording of the song topped the Hot Country Songs chart for three weeks in 1971 and became a crossover pop hit. The song also earned Smith the 1971 Grammy for best country vocal performance, female, and the Country Music Association’s award for single of the year. Willie Nelson, Tammy Wynette, and Gladys Knight and the Pips are also among the many artists who have recorded the song.
McBryde’s favorite line in the song? “‘Let the Devil Take Tomorrow/ Tonight, I need a friend,’” McBryde said. “I mean, I was just a little girl singing that with my dad. I was raised in a really strict, religious household, too. So [it was] interesting to hear my father sing something like, ‘Let the devil take tomorrow. Tonight, I need a friend.’ And I was like, ‘Oh, I’ve never heard [something that says] I don’t care what it costs me. I’m not worried about it.” I’ve never heard it put that way, at that age. And Kris Kristofferson is responsible for me being a songwriter.”
Next month, McBryde will release her new song, “Ain’t Enough Cowboy Songs,” which she wrote with Chris Harris and Patrick Savage. After landing on the song title, they realized it connected to “missing the things that made me make the choices that made me who I am,” McBryde said.
“The more we talked about it, the more we noticed that it had a lot to do with the cowboys we looked up to when we were little, and the songs surrounding the lives they led,” she added. “It was they way they lived their lives, the way they presented. They do what they say they’re going to do, and they are where they say they’re going to be, and they stick up for people when they’re having weak moments. For us, [it was about] trying to stay tethered to that touchstone.”
Asked about her own favorite “cowboy songs,” she notes Chris LeDoux’s “This Cowboy’s Hat” as a contender.
“I love that moment where he sings, ‘But if you touch my hat/ You gotta fight us all,’” she said. “I was like, ‘Yeah, that’s the life I want to lead.’ It’s having each other’s back and it’s knowing that the people standing around you have your back, and that’s largely what country music has been built on. So I think it’s time to get back to some cowboy songs.”
From the moment she could crawl, Maeta was immersed in music. Spinning her father’s CDs on the living room floor wasn’t just a hobby—it was an obsession. “I’d sit there every day, pick a random CD, and just listen,” she recalls with a sheepish smile, hinting at her young age. But in that childhood ritual, a lifelong passion ignited. At seven, Leona Lewis’ “Bleeding Love” left a lasting mark, solidifying her path. “I thought I was the best singer in the world at seven—I was so trash,” she laughs, reflecting on her early confidence.
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Growing up in Indianapolis, a city she fondly calls “a breeding ground for dreamers,” Maeta was fueled by an unwavering determination. Despite limited access to a vibrant music scene, her imagination thrived. School choirs and after-school projects became her first taste of songwriting and recording. “It was bad,” she admits, “but it was the closest thing to the music industry in Indiana.” Even when her dreams felt unattainable, Maeta never wavered and her passion to be a musician was her compass.
Her journey into music wasn’t just about discovery—it was about persistence and vision. At 18, she left Indiana for Los Angeles, diving headfirst into the industry. “I spent four months in the studio, working with so many producers, every single day,” she says. It was overwhelming but formative, helping her find her sound. Even now, she remains fluid, saying, “I just did a dance project, but I’m about to go back into my R&B ballad bag. It’s fun to not always know where you’re headed.”
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Her creative process is as unpredictable as her musical direction. “Sometimes I cry, sitting in the dark for hours. Other days, I’m in a good mood,” she explains. For Maeta, the studio is a sacred space. “I like the lights off. I don’t even like to see my engineer half the time. I want to be in my little cave,” she says, describing the intimacy and solitude she needs to create.
But the path hasn’t been without its challenges. Maeta speaks candidly about the power dynamics in the industry, especially with men. “I’ve dealt with men in power trying to take advantage… that’s been happening since I was 13,” she says. Yet, she’s found a team that supports her fully. “I love my team so much… they’ve been so loyal. I wouldn’t want anyone else.”
Her journey is a testament to imagination, grit, and the unwavering pursuit of dreams. “Imagination is everything… but you need the determination to make it happen. I’ve wanted to give up so many times, but you just have to come back to it,” she admits, highlighting the resilience that has carried her through the highs and lows of her career. It’s this blend of vision and persistence that defines not only her artistry but also her personal growth. Now, her music carries a profound depth rooted in lived experience and emotional truth. “I don’t even like songs unless I feel something,” she reflects, emphasizing how her creative process has evolved. “I used to sing whatever I was told. Now, it has to mean something to me.”
This evolution mirrors her alignment with Honda’s ethos of determination, resilience, and the power of dreams. Much like Honda’s commitment to turning bold ideas into reality, she embodies the spirit of pushing forward despite challenges, finding purpose in the journey, and crafting something meaningful along the way. It’s this shared sense of vision and perseverance that makes her a natural fit for this year’s Honda Stage, a platform dedicated to highlighting artists who reflect these ideals through their stories and their music. Her performance becomes a celebration of not just her talent, but the grit and heart that have defined her journey.
Her latest song, “Back,” performed exclusively for Billboard and Honda Stage, delves into self-sabotage, an emotional vulnerability she openly shares. “It’s about when you’re your own worst enemy, especially in love. You overthink, hate yourself, and take it out on the person trying to love you,” she confides. It’s this raw honesty that resonates deeply with her audience.
Her music, much like her creative process, is a blend of spontaneity and intent, where every song carries “little pieces of me.” Maeta remains a chameleon, who finds joy in experimentation but is determined to leave an unmistakable stamp on her music. “You’re not gonna hear my song and not know it’s me.” For Maeta, collaboration isn’t just a part of her career—it’s the lifeblood of her artistry, keeping her inspired and pushing her creativity to new levels. “Artists and musicians are crazy. Creatives are just so inspiring… every time I work with somebody new, there’s just something weird about them that I love.”
Her music is a reflection of her journey, a symphony of personal growth, and the collective wisdom of her many influences. And despite the inevitable pressures of the industry, Maeta remains steadfast in asserting her artistic vision. “You can always tell when an artist is just a puppet,” she reflects, highlighting her commitment to authenticity over conforming to trends. For her, music is not just a career; it’s a lasting legacy. “I’ve been existential since I was a kid,” she confesses. “I want my music to outlive me.”
In the end, Maeta’s story is one of embracing life’s unpredictability. “Just relax. Let life happen and let it flow,” she advises her younger self—and herself today. It’s a sentiment that beautifully encapsulates her journey: a balance of vision, vulnerability, and relentless pursuit of her dreams.
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About Honda Stage:
Honda Stage is a music platform that builds on the brand’s deep foundation of bringing unique experiences to fans while celebrating determined artists and their journeys of music discovery. Honda Stage offers exclusive, behind-the-scenes music content and inspirational stories from on-the-rise and fan-favorite artists, giving music fans access to the moments they love while celebrating the creativity and drive it takes to make it big.
With the music world still grieving the loss of One Direction member Liam Payne, Culture Club frontman Boy George is taking some accountability for comments he made about the late singer.
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In the latest episode of the High Performance podcast, George expressed his regret over comments he left on a post of one of Payne’s performances. “I’d actually put a message under a post saying ‘he’s off his nut,’ which wasn’t very nice,” the “Karma Chameleon” singer said. “But I felt it. I felt like he was out of control.”
George continued, saying once he’d learned of the singer’s death, he was “hit” in a similar way to when Amy Winehouse passed in 2011. “It felt so senseless. I was up at five in the morning, and it came up on the American news, and I was literally just like, ‘What the f–k,’” he said. “Like, ‘No, this isn’t real,’ I could not take it in, and I think everybody felt like that.”
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The singer added his anger and frustration with some of the comments he read after he posted a short tribute to the singer on his Instagram. “Someone tweeted at me, ‘Oh, you only care because he’s good looking,’ and I was like, ‘F–k off,’” he said. “You’re an idiot … no, actually, I care about his family. I watched his dad [greet fans after Payne’s death], heartbreaking.”
Payne was laid to rest in a private funeral on Wednesday (Nov. 20). Among those in attendance were Payne’s former One Direction bandmates Harry Styles, Louis Tomlinson, Niall Horan and Zayn Malik, along with The X Factor host Simon Cowell and former late-night host James Corden.
Watch the full episode featuring Boy George below:
Billie Eilish is wrapping up 2024 with a major honor, as the nine-time Grammy winner was named Apple Music’s 2024 Artist of the Year on Thursday (Nov. 21). “Since day one, Apple Music has supported my music and artistry, and I am both honored and humbled to receive this recognition as Artist of the Year […]
AJ Tracey and Pozer, two of U.K. rap’s most in-demand names, have joined forces on new single “Heaterz.” Released via west London rapper AJ’s own label, Revenge Records, the track samples “Gunshot Riddim” by pioneering grime producer Ironsoul. Explore Explore See latest videos, charts and news See latest videos, charts and news “Heaterz” forms part […]
Snoop Dogg’s Missionary album is on the horizon, and the Doggfather alongside Dr. Dre dropped off the second single from the LP on Thursday (Nov. 21) with “Outta Da Blue.” Explore See latest videos, charts and news See latest videos, charts and news Snoop and Dre turn back the clock to trade bars over the […]
Numerous music documentaries are among 169 features that are vying for Oscar nominations for documentary feature film.
Music docs on the entry list include Elton John: Never Too Late; Eno (about Brian Eno); I Am: Celine Dion; Indigo Girls: It’s Only Life After All; Luther: Never Too Much (about Luther Vandross); Mad About the Boy – The Noel Coward Story; Music by John Williams; Piece by Piece (about Pharrell Williams); and The World According to Allee Willis.
John Williams is a five-time Oscar winner for his scores. Pharrell Williams has been nominated twice – best original song for “Happy from Despicable Me 2 and as a producer of best picture nominee Hidden Figures. Elton John is a two-time Oscar-winner for best original song.
The Greatest Night in Pop, the Netflix film about the 1985 recording session that produced “We Are the World,” is also on the eligible list. The much-decorated film was nominated for a Primetime Emmy for outstanding documentary or nonfiction special and is a current Grammy nominee for best music film.
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Also eligible: Following Harry, about Harry Belafonte’s social justice work; Studio One Forever (about the L.A. nightclub that is described as “America’s first gay disco”) and Flipside (about a comical attempt to save a New Jersey record store).
Non-music, but music-adjacent, docs that are eligible in the category include Bob Mackie: Naked Illusion, Jim Henson Idea Man and Remembering Gene Wilder.
The Academy of Motion Picture Arts & Sciences notes that “Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.”
Members of the documentary branch vote to determine the shortlist and the nominees. The shortlist of 15 films will be announced on Tuesday, Dec. 17.
The Academy also announced feature films eligible for consideration in the animated feature film and international feature film categories.
Thirty-one features are eligible for consideration in the animated feature film category. To determine the five nominees, members of the Animation Branch are automatically eligible to vote in the category. Academy members outside of the Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category.
Eighty-five countries or regions have submitted films that are eligible for consideration in the international feature film category. An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the U.S. with a predominantly non-English dialogue track. Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category.
Preliminary voting for the 97th Academy Awards will begin on Monday, Dec. 9, and end on Friday, Dec. 13. Shortlists in select categories will be announced on Tuesday, Dec. 17. Nominations will be announced on Friday, Jan. 17.The 97th Oscars will be held on Sunday, March 2, at the Dolby Theatre at Ovation Hollywood, and will be televised live on ABC and in more than 200 territories worldwide.
You might recall that Future and Metro Boomin‘s hit two-fer We Don’t Trust You and it’s sequel album, We Still Don’t Trust You, were larded with shots at Drake. Not only from the two stars whose names were on the cover, but also from The Weeknd, A$AP Rocky and Kendrick Lamar. At the time, the barrage of disses were a head-scratcher to some, since Drizzy had worked with all parties in the past, even if some of those relationships had sometimes run hot and cold.
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Now, according to a series of tweets from hip-hop journalist Elliott Wilson of pages from the new Men of the Year issue of GQ in which Hitmakers of the Year Future and Metro Boomin dig into the origins of their beef with Drake, the heart of the matter was personal, not professional.
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“Me and [Drake], we had a personal issue, and for the record, not over no girl or nothing silly like that,” Metro told GQ senior editor Frazier Tharpe about the war of words sparked by the Billboard Hot 100 No. 1 Kendrick Lamar-featuring song he produced for the first Trust You volume, “Like That”; that track was a response to the 2023 Drake/J. Cole song “First Person Shooter.”
“It was a personal issue that really hurt me and disappointed me,” Boomin’ said, without specifying what he was referring to. “But if you take all the rap entertainment out of it, it’s like, have you ever been real cool with somebody, and y’all fell out over something? It happens every day. It’s just regular s–t. This just happens to have an audience.”
As for chatter that Boomin’ cooked up his two-album set with Future with the explicit aim of dumping on Drake, the producer/songwriter said that was “for sure” nonsense. “People really think we sat for two years, making two albums [to be] like, Yo, f–k this dude. What kind of s-t is that?,” Boomin, 31, said. “You really think we are going to spend that much time, effort, resources on just trying to get at somebody on an album? Blowing budgets on two albums—going over budget? That’s some serious hate. Neither one of us rock like that.”
Though the albums kicked up a lot of dust and attention, Boomin told the magazine that he did have some regrets about how he handled the issue online in a series of tweets attacking Drake in response to Drizzy firing back with his own Metro/Lamar diss tracks, “Push Ups” and “Family Matters.”
“Now I did have my moment online, which I do regret. I should have been stronger than that. That was out of character for me,” Boomin said. “But at a certain point, it’s like, I don’t rap, bro, so you’re going to just s–t on me on all of these songs […] I’m not going to get in the booth, so I’m finna tweet at you.”
While Boomin was willing to open up about his feelings about the feud, Future was more circumspect, saying, “There was a beef?… I didn’t even know there was a beef. I didn’t even know they had nothing going on. I ain’t never participated in rap battles, man.”
Despite his seemingly joking response, Future did wonder why no one asked him if he was upset at being left out of the “Big Three” list on “First Person Shooter,” on which Cole claimed he, Drake and Lamar are the undisputed top tier of modern hip-hip.
“I’m supposed to be the one who gets mad; I’m still confused about that,” Future told GQ, according to Wilson’s posts. “Nobody cares what I think. That’s what was so f–ked up about the s–t. To the point where I’m so player that I ain’t even said anything to the public about how I feel about it. Like, why is everybody mad when he was talking about me on my song? So y’all just forgot about me, I ain’t part of this Big Three, I’m nobody on my song, man.”
At press time a spokesperson for GQ had not responded to Billboard‘s request for confirmation of the quotes posted by Wilson.
Last month, in a tweet from jail, Young Thug called for peace between Drake, Future and Metro. “@Drake @1future @MetroBoomin we all bruddas. Music aint the same without us collabin,” wrote the MC who was released from jail after cutting a plea deal in his long running YSL RICO case in Georgia.
The winter edition of Belgian dance mega-festival Tomorrowland has announced a sprawling lineup for its event this March in the French Alps. The bill includes Tomorrowland regulars Afrojack, Amelie Lens, Steve Aoki, Axwell, Nervo, Armin van Buuren and Kolsch, along with a flurry of acts including Agents of Time, Joris Voorn, LP Giobbi, Hugel, Nina […]
